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Circa 1974....(Feeling No Pain) Doug Dillard(kneeling), Ringo Starr, Harry Nilsson, Micky Dolenz and Keith Moon! Roll call finds Alice Cooper and John Lennon absent.

📷 James Fortune

At The Rainbow Bar And Grill, Los Angeles

#1974 #1970s #1970's #70s #doug gillard #ringo starr #harry nilsson #micky dolenz #keith moon #rainbow bar and grill #los angeles #woodstock counsel of elders local tribe 1969 #vintage #retro #facebook

Guided By Voices- Crawlspace Of The Pantheon (GBV Inc Records)

Another year, another Guide by Voices album. But album #44 is filled with all newly penned Pollard tracks this time around. It features the same line up dating back to August By Cake (the double lp with bassist Mark Shue on the cover). It features vocals: Robert Pollard; vocals: Bobby Bare Jr.; guitar: Doug Gillard; bass: Mark Shue; drums: Kevin March. String and horn arrangements by Doug Gillard. It's produced by Travis Harrison at Serious Business Music. Lead off track," Lost In The Sun," blasts away with Doug's guitar right into a rockin' rhythm section. This song sets the tone for the rest of the album. It's a short one reminiscent of the early GbV days. Nothing wrong with that! Bob rattles off bands possibly to include on his next Suitcase series, "there goes The Ivory Gate, dressing like thrift store mods, hanging with Surfer People, that's when rock and roll got old, then came The Vacant Names, playing their finger blame games, when they took the wheel, from here on out was not the same" Anyway you look at it, "Lost in the Sun, is a one two punch to kick off the album. Track 2, "Out With A Theory," is a repetitive, slower track. Bob's lyrics here are in fine form as well, "and they wrote some songs in a Cheap Trick cover band, and they wanted to record in Mitch Easter's garage; but it shouldn't work or it maybe couldn't stand, and it all swept up in part of the mirage. go out with a theory." It has a feel of recalling their days opening for Cheap Trick. (Be sure to look up their cover of "Downed.") "One Last Blow" is throbbing bass anthem with Bob's vocals tweaked to come off as muffled distortion(Remember "Zoo Pie?"). But be sure to wait for the shredding guitar jam at the end. If you've read this far, the first single off the album is classic GbV. "We Outlast Them All" is the sonic sound of their past complete with a beautifully harmonized chorus thanks to Bobby Bare Jr. "and we outlast them all every keepsake, every law with a school girl's voice a career for the curtains that rise and fall. and we accept them all every gift mouth large or small from the cold to a smoldering heat of the hearth." It's been on my stereo non-stop. Listen here:

"A Grand Ceremonial Jester" is another too short nonsensical number trying to make sense of. "Dagon's Plunger" attacks with a throbbing bass, smashing drums, and scorching guitar. It meanders into numerous melodies that makes it the longest track on the album. "Advance Without Dropping" is the second single released prior to the album dropping. "I've got no criticisms, I've got no fight, I've got no witticisms, with any kind of bite to you, my son, to you" Pollard told FLOOD Magazine: "I say 'my son' a lot in this song but it's not necessarily to my son, Bryan. It could be to any young person. I've got about five or six guys I hang out with that I refer to as my son. One of them is in my band." Listen here:

Track 8, "No Shoe Fits (Floating Babies)," clocks in a little over two minutes, but you would never believe it. It's packed with jamming instrumentation, Bare Jr.'s harmonies, and Bob's witty lyrics. "floating, do you see me? I'm floating around on the royal throne, seemingly floating unless the queen is stoned, but not nonplussed, sangfroid human goes rolling home, mother nature's son, too much air on my hair, and I am floating…" But you need to hear this to believe how well it works. "Arthur Square" is another favorite with its "Motor Away" similarities, but here it's a fully-formed anthem. Is Bob reflecting on his own age? "and I don't care about the clothes that I wear, I'm not concerned and I cut my own hair, I'll just go on and be dressed as the fool 'cus I'm too old to pretend I still look cool." Well, he still looks cool to me. "Landscaping" features bassist Mark Shue adding autoharp. It's a dreamy, slower ballad filled with colorful imagery. "even still with it's coterie of liars, thieves and spies, statuette of a broken horse still good in your eyes." Track 11, "(How Would You Like A) Chariot Ride," is the fullest sounding song Guided by Voices has put out since Do The Collapse. It could easily be slipped into an 80s soundtrack with its over the pop production. The album closes with the newest single, "When You're My Clown (Nothing Happens)." It's a droning number that also gets an extra touch with Bobby Bare Jr.'s harmonies. Listen here:

Yes, Guided by Voices releases a lot of music. And I mean A LOT. Even though I'm huge fan, this album hooked me from start to finish. Apparently the band has taken a break from touring this year. I know Doug's got a great new album he's promoting. Bobby Bare Jr. is touring. I'm sure the rest of the band is busy as well. ERIC EGGLESON (posted 5/29/26)

(Photo credit: Sandlin Gaither)

Online store management, product fulfillment, and merch production for bands, artists, and more.

#Youtube #guided by voices #doug gillard #kevin march #mark shue #Bobby Bare Jr #robert pollard #gbv #indie rock #alternative rock #dayton ohio #bandcamp #rockathon #Bandcamp

11/15/24.

My first listen to Children's Crusade's "Man-Gun" and "Lurker on the Threshold" made me think of Guided By Voices, Protomartyr and David Bowie. Once I saw the band's picture I assumed this was a reissue of a band from the 1970s or 1980s.

Two of my initial impressions turned out to be spot on. First, Children's Crusade (Cleveland, Ohio) did initially record this in 1984. Second, the band was made up of Fraser Sims and Doug Gillard (later of Guided By Voices).

This is the second release on the new Bob Pollard label Splendid Research Records. The other release is a previously unknown Bob Pollard project - Rip Van Winkle.

#Children's Crusade #Cleveland #Ohio #Guided By Voices #Bob Pollard #Splendid Research Records #Protomartyr #David Bowie #Fraser Sims #Doug Gillard #Rip Van Winkle #Bandcamp

I'm head of the class I'm popular I'm a quarter back I'm popular My mom says I'm a catch I'm popular I'm never last picked I got a cheerleader chick

Live Stream GBV YLT COVID-19

BY JORDAN MAINZER

It started with the familiar sights: a bucket filled with Miller Lites and a bottle of Jose Cuervo, Robert Pollard’s button-up shirt with the sleeves rolled up and baggy pants, the rest of the band in their usual more fitted almost all-black uniform. As they played, Pollard leaned over the stage, belting classics and new songs alike, like he normally would into a crowd. Only this show from Guided By Voices was professionally prerecorded and mixed, played to an empty, socially distant venue, The Brightside, in Dayton, broadcast to the rest of the world, benefiting various venues the band has played. The idea of a GBV show where the crowd members didn’t put their arms around each other during “The Goldheart Mountaintop Queen Directory” or scream to one another during “Game Of Pricks” is absurd and counter-intuitive in theory. But in practice, it worked.

While not quite the three-hour marathons of which the band’s usual tours consist, and containing almost no between-song banter or introductions, GBV’s set on Friday was still 53 songs, 2+ hours of well-paced four P’s (pop, punk, prog, and psych), and the best-selling Noonchorus concert to date. As if to ease us into the idea of a virtual show, the band didn’t immediately come out with rippers, instead playing the usual selection of tracks from the current year (Surrender Your Poppy Field’s “Year of the Hard Hitter” and “Volcano”, and the upcoming Mirrored Aztec’s “Haircut Sphinx” and “To Keep An Area”; there was nothing from MA follow-up Styles We Paid For), and deep cuts, including a jammed-out, tambourine-laden performance of the title track to Pollard solo album Moses on a Snail. About a third of the way through, they dropped not just the classic songs, but the classic live show experiences. Like before at a real show, I heard the opening snare hits to “Motor Away” from a bathroom--this one my own--and rushed to make it back to witness the performance. I laughed at Pollard’s tree pose introducing Doug Gillard-penned classic “I Am A Tree”. I remained grateful that the band’s brought pop masterpiece “Chasing Heather Crazy” back into the fold, while marveling at hearing “Hot Freaks” live for the first time in my life. The Guided By Voices community remains strong, even from a great distance; a few beers deep, my girlfriend and I spontaneously video chatted with a fan we’d never met (and now friend) in the Netherlands, where it was almost 3 AM.

Whereas Guided By Voices tried to recreate as much of the live experience as possible, another 90′s indie rock stalwart embraced the differences between the before times and the COVID times, using the opportunity to give fans a rare glimpse into their creative process. From their cluttered practice space (in between collections of old clocks and Simpsons paraphernalia were layers of cardboard and stacks of paper), Yo La Tengo broadcast two 30-45 minute performances of “formless” music, instrumental jam sessions that often act as the origins of the spaced-out pop songs they’re known for. In addition to releasing We Have Amnesia Sometimes, a five-track recording of similar socially distant sessions from April, Yo La Tengo took control of the moment, raising money for the Brennan Center for Justice, a nonpartisan law and policy institute fighting on behalf of democracy and justice, while giving fans a taste of their ability to improvise rhythms and melodies.

The music during both shows was generally gorgeous. Saturday night started with all three on guitar, alternating between strummed, picked, and scratched rhythms and harmonic drones. There was plenty of randomness; Georgia Hubley twice hitting a cymbal with the end of her guitar was either a coincidental effect of a cramped space or extemporaneous controlled chaos. Both within and between tracks, the band members switched instruments, as the first ended with Hubley pivoting to a keyboard and James McNew to a Moog. The second track was more percussion-heavy, starting with Hubley on drums and McNew on the Moog but quickly moving to rhythmic guitar picking. Hubley and Ira Kaplan played dual percussion, the former using toms, then brushes, and Kaplan toms on a snare and tambourine. Eventually, drums were traded for guitars and then for more loops, drones, and layers, ending full circle with percussive shakes. Sunday afternoon’s stream was more of a groove, starting with all three band members on the keys, producing a whistling drone. As McNew switched to a reverb-heavy guitar, Kaplan was the one this time fully embracing randomness, playing at times with his wrists and knuckles. Eventually, it was McNew’s turn on the drums, as he provided tom rolls on cymbals, snare, and floor tom with a towel draped over it, his head nodding along to Hubley’s pedal guitars and Kaplan’s harmonic keyboard waves. The track ended sparsely with siren-like Moog playing and twangy guitar plucks from McNew; there were multiple times throughout when nobody appeared to be playing anything.

Just as these two bands represented polar opposites of the 90′s lo-fi spectrum, they both approached their live streams in converse, equally successful ways. It’s clear virtual concerts will never be a replacement for in-person live shows. But due to the pandemic and logistical difficulty of putting on safe, socially distant shows, the club continues to be open at home only.